That’s no way to cover your theft.
Honestly, most of us do this when we start writing. It’s completely normal and usually part of finding your voice. The mistake is making it public, and... More > taking credit for it, and accepting money/accolades/awards for it, instead of just putting it away with all the other writing practice you do before you decide to take a serious run at being a writer.
Tl;dr: The internet is making this sort of thing more visible than it was back when I was in middle school writing Stephen King’s plots into my own stories—that I didn’t try to publish because I had copied all the good parts from other writers and why would I take credit< Less

That’s no way to cover your theft.
Honestly, most of us do this when we start writing. It’s completely normal and usually part of finding your voice. The mistake is making it public, and... More > taking credit for it, and accepting money/accolades/awards for it, instead of just putting it away with all the other writing practice you do before you decide to take a serious run at being a writer.
Tl;dr: The internet is making this sort of thing more visible than it was back when I was in middle school writing Stephen King’s plots into my own stories—that I didn’t try to publish because I had copied all the good parts from other writers and why would I take credit< Less

Die Dichtkunst (the art of poetry or lyric poetry) is a partial appropriation of Hanne Darboven’s monumental Kulturgeschichte 1880-1983, with its scores of scored u's combined with Jacques... More > Lacan’s observation that “There has never been a you anywhere else than where one says you.” For once one truly says you: “I abolish myself.” The text-object is composed of 383 pages: two 3s together forming the 8, which is the sign for infinity. In the middle of the book there are 11 pages of us, a mirrored number, the number of the uniform binary, the single number of the twin. Two mirrors reflecting one another will reflect to infinity. For, as Darboven once quoted Günter Grass:"Heinrich Schütz, who had attended the debate as though absent, answered the question: For the sake of the written words, which poets alone had the power to write in accordance with the dictates of art. And also to wrest from helplessness—he knew it well—a faint 'and yet.'"< Less

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